Concrete Voids offers a bold sonic experiment with moments of brilliance, but its debut only hints at the immersive potential yet to be fully realized.
Concrete Voids marks the debut of an ambitious new series of commissioned works designed to push the boundaries of performance art and sound. Conceived by Tony Birch, the project aims to create a truly immersive experience, utilising 80 speakers discreetly hidden in the walls and ceiling the Queen Elizabeth Hall. This innovative approach creates a three-dimensional sonic environment, enveloping the audience in sound from all directions. The concept holds great promise, and while its full potential was only partially realized in the first two commissions, the performance offered an exciting glimpse into the future of this experimental series.
The first piece featured performers Liam Byrne and Cleek Schrey, who played the viola da gamba and the hardanger d’amore (a violin with sympathetic strings) in combination with live electronics. The resulting soundscape was delicate and ethereal, setting an intimate, meditative tone at the outset, with the lighting sensitivity guiding the performers’ way through the auditorium. However, while the atmosphere was beautifully set, the piece lacked a clear sense of direction early on. The composition felt somewhat meandering, lingering on a single tone for an extended period and giving the impression of stagnation. As a result, the pacing of the piece felt slow, and the performance struggled to maintain a sense of momentum.
Despite these moments of hesitation, the piece did offer some highlights. The theatrical microphone bowing technique was particularly striking, and the tonal shift toward the end of the piece was also a welcome change. That said, the climax of the work didn’t quite reach the emotional or sonic intensity that it seemed to be building toward. The exploration of the sound worlds was intriguing, but it could have benefited from further development. Still, the work opened the Concrete Voids series in an intricate and thoughtful way, and there was a palpable sense of potential for what could come next.
After the interval, the atmosphere shifted dramatically with Peter Gregson’s performance. The enigmatic opening revealed a solo cello under a spotlight alongside the striking visual of the upper strings of the Aurora orchestra marching down the aisles. The interplay between the acoustic and electronic elements was stunning. The cello, both as a solo instrument and in combination with the four string quartets, created a beautiful tension, building into a full-bodied orchestral sound that enveloped the room. The layering of sound felt both intricate and emotional, and the shifting dynamics kept the audience on the edge of their seats. Gregson’s ability to seamlessly blend these elements took the listener on an emotive journey from delicate moments to an intense, orchestrated frenzy.
Tony Birch deserves particular credit for his bold vision in crafting this new series. Both performances demonstrated the immense potential of Birch’s vision and showed just how much can be achieved when traditional and electronic elements are combined in innovative ways. The series certainly has the potential to push the boundaries of performance art in new directions. I’m excited to see how the series evolves, and based on this debut, I have high hopes for what is to come.